sat 19/01/2019

alexandra coghlan

alexandra.coghlan's picture
Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.

Articles By Alexandra Coghlan

War Requiem, English National Opera review - a striking spectacle, but oddly unmoving

Read more...

Simon Boccanegra, Royal Opera review - a timely revival of Verdi's political music-drama

Read more...

The Silver Tassie, BBCSO, Barbican review - a bracing memorial for the WW1 anniversary

Read more...

Romeo and Juliet, Barbican review - plenty of action but not enough words

Read more...

Solomon, Royal Opera review - an awkward compromise of a performance

Read more...

Götterdämmerung, Royal Opera review - a fiery finale to this ambiguous cycle

Read more...

Prom 15, Lewis, BBC Philharmonic, Gernon - a masterful Emperor took the musical laurels

Read more...

The Winter's Tale, Shakespeare's Globe review - a chilly tale for a time of austerity

Read more...

Partenope, Iford Arts review - a midsummer night's dream of a Handel comedy

Read more...

theartsdesk in Paris - following in the footsteps of Gounod

Read more...

Acis and Galatea, English National Opera, Lilian Baylis House review - Handel for the hashtag generation

Read more...

Die Zauberflöte, Garsington Opera review - visually stimulating, conceptually confusing

Read more...

Effigies of Wickedness, Gate Theatre review - this sleek cabaret conceals desolation behind a smile

Read more...

Lessons in Love and Violence, Royal Opera review - savage elegance never quite glows red-hot

Read more...

An Ideal Husband, Vaudeville Theatre review - unsettled evening leaves blood on Wilde's drawing-room furniture

Read more...

Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death

Read more...

Pages

latest in today

Bang on a Can All-Stars, Kings Place review - a kaleidoscope...

Julia Wolfe, Caroline Shaw, Anna Þorvaldsdóttir: three names on quite a list I reeled off earlier this week when someone asked me why...

theartsdesk Q&A: Hedvig Mollestad, Norway's bridge...

Norway’s Hedvig Mollestad Trio reset the dial to what...

CD: The Dandy Warhols - Why You So Crazy

Why You So Crazy is a woozy, disorientating and spaced-out affair with a similar understated production to the Dandy Warhols last album,...

American History's Biggest Fibs with Lucy Worsley, BBC...

The multi-costumed Lucy Worsley is television marmite, loved or loathed...

Murrihy, Britten Sinfonia, Elder, Barbican review – a countr...

As the January chill began to bite around the Barbican, Sir...

Beautiful Boy review - well-acted but a slog

The tortuous road to addiction and back again – or maybe not  makes for a faintly tedious experience in...

The Unreturning, Theatre Royal Stratford East review - hymn...

Nadia Fall is a good thing. Her appointment as the artistic director of this venue, with her first season having begun in September last year, has...

'Bringing things to life is what opera is all about...

I’m here in Leeds at the end of five weeks of quite intense rehearsals for...